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King Kong, Godzilla, Pacific Rim and Theme Park Rides (Exclusive)

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King Kong

Late last night it was announced that the untitled King Kong: Skull Island would be moving from Universal to Warner Bros., complete with cast & crew intact and Thomas Tull & Legendary remaining on board. Why? Because Warner Bros. controls the rights to Kong and instead of licensing them to Universal again, they’ve decided to take them back. The goal here is not only to re-launch Kong at WB, but also to eventually include him in Gareth Edwards’ Godzilla 3, effectively creating a modern update of the 1962 classic King Kong vs. Godzilla.

What is Universal getting out of this, however? I’m sure their logo will remain in front of Skull Island, much as Paramount’s did in front of the some of the early Marvel films at Disney, but surely there is more to it than that? Surely Universal is getting some sort of consolation prize after losing a Tom Hiddleston-starring blockbuster giant monster movie? According to a trusted source, they are being compensated two-fold.

First up, is the obvious perk: theme park rides. Construction on their new Skull Island Kong attraction was recently delayed and this deal is why. Work will resume after the move happens and the attraction will be completed. Other Kong attractions might follow in the future at one or both parks and the studio will reportedly be granted the rights to fashion Godzilla attractions as well. I would assume that they would be geared towards WB’s Godzilla films, but with Toho still in the mix, perhaps they might be able to utilize some of their creations to a degree as well? Unlikely, as Toho is iffy about giving permission to such things, but you never know. The Warner Bros./Legendary/Toho relationship in regards to Godzilla is a strong one and anything is possible.

So what is the second? What possible, kaiju-related consolation prize could Universal be tempted with to not throw a tantrum over losing Kong? Pacific Rim. While the first film did well worldwide, it underperformed enough stateside that WB was fine with letting Legendary retain the rights and take Pacific Rim 2: Maelstrom with them over to Universal. That project has seen a delay of some kind (and is likely to shift its a release date a bit to avoid Nolan’s new film), but is still moving forward. We are not talking Pacific Rim 2 here, however, but what will follow it.

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That’s right! While plans could change with time, the idea here is that after Edwards’ completes his Big G trilogy with his own take on King Kong vs. Godzilla, both titular gigantic fiends will guest star in the trilogy-capper to Guillermo Del Toro’s own kaiju franchise. Kong appearing in the new Godzilla films seemed impossible enough, but this one punches through the stratosphere. What we have here is the making of a megaverse saga comprised of presumably 7 films that span across 3 franchises and 2 studios. In simple terms, it would basically look like this…

Pacific Rim (2013; dir. Guillermo Del Toro)
Godzilla (2014; dir. Gareth Edwards)
King Kong: Skull Island (2017; dir. )
Pacific Rim II: Maelstrom (2017, dir. Guillermo Del Tor)
Godzilla II (2018; dir. Gareth Edwards)
King Kong vs. Godzilla (TBA)
Pacific Rim III (TBA)

I’m assuming Edwards is expected to return for KvG, much like GDT probably couldn’t be kept away from a Godzilla and Kong-starring Pacific Rim III if his life had depended on it. Warner Bros. gets a shared mega-monster universe, Universal gets theme parks rights and a piece of the pie, and Toho likely gets Japanese distribution rights for the rest of the films yet to come. It’s a massive win for all involved and it’s a super-win for fans.

As for reconciling the continuities? It shouldn’t be too hard. Skull Island is supposed to be a prequel set in the ’70s, Gareth Edwards’ Godzilla films are roughly set in our present, and the Pacific Rim films are all set far into the future. The latter has a vague past that doesn’t detail much of what happened before the opening of the rift and the kaiju war. It wouldn’t be too hard to work these monstrous kings into its back-history and I’m sure GDT can come up with a way to revive them in his post-apocalyptic monster-filled future.

Things could change, but for now we have before us a rather amazing potential shared universe that will keep us satiated with giant monsters for years to come, both in theaters and at Universal Parks. Sound like fun to you? It sure does to me!

Pacific Rim

Horror movie fanatic who co-founded Bloody Disgusting in 2001. Producer on Southbound, V/H/S/2/3/94, SiREN, Under the Bed, and A Horrible Way to Die. Chicago-based. Horror, pizza and basketball connoisseur. Taco Bell daily. Franchise favs: Hellraiser, Child's Play, A Nightmare on Elm Street, Halloween, Scream and Friday the 13th. Horror 365 days a year.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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